Lourdes Castro 盧爾德·卡斯特羅 (1930) Pop Art Nouveau Réalisme Portuguese

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Lourdes Castro ( Funchal , of December of 9 1930 -) is an artist Portuguese .
Attending the Superior School of Fine Arts in Lisbon , a course that would not end by its "expulsion" in 1956, "for non-compliance with the academic canon that dominated the system of education at that time."
She exhibited individually for the first time in 1955, at Clube Funchalense, Funchal , also participating in some collective exhibitions in Lisbon .
She leaves for Munich in 1957 and, shortly after, settles in Paris with her husband, René Bertholo . The following year, together with René Bertholo, Costa Pinheiro , João Vieira , José Escada , Gonçalo Duarte , Jan Voss and Christo , the KWY group , participated in the group's various initiatives.
In 1960, he joined the KWY show at SNBA , an exhibition that, according to Rui Mário Gonçalves , marks the beginning of the 60s in the Portuguese artistic scene. In 1972 and 1979 he was a resident artist at the DAAD (Deutscher Akademischer Austauschdienst) in Berlin. After residing 25 years in Paris, in 1983 returned to Funchal, where he lives today.
It was awarded with the following awards: Medal of the Regional Council Salon de Montrouge, Paris, 1995; CELPA Award / Vieira da Silva, 2004; EDP ​​Lisbon Grand Prix, 2000. She is represented in several collections, public and private, among which: Victoria and Albert Museum, London; Museum of Modern Art, Havana; Museum of Modern Art, Belgrade; National Museums of Warsaw, Vroclaw and Lódz; Modern Art Center , Calouste Gulbenkian Foundation, Lisbon; Foundation of Serralves , Porto.
Lourdes Castro's last major solo exhibitions: Shadows around a Center , Serralves Foundation, Porto, 2003; The Great Shadow Herbarium , Calouste Gulbenkian Foundation, Lisbon, 2002. In 2000, she represented Portugal at the XVIII São Paulo Biennial , along with Francisco Tropa .
Her work of the early Parisian years is characterized by a form of abstraction " from the informalist root " . This register " changed completely from 1961. On that date it abandoned the traditional supports of painting. Sensitive to the assertion of the Nouveau réalisme , it bet, in the first moment, on the creation of constructed objects, from the assemblage of goods Of ordinary use " , which crowded into boxes, then covered them with" a uniform layer of color (silver, gold, blue ...) as if they could be sculptures of noble and one-piece material "; In each work she " confronts the impoverishment of the form and values ​​of things in contemporary society with the hypothesis of a poetic alternative.These are three-dimensional works that prepare the dematerialization concretized in its" projected shadows " " . The concept of shadow will become central in virtually all of its later production; " Cut or drop shadows, shadow theaters, embroidered fleeting shadows on sheets, there were several ways and records that the artist helped to relate this immaterial perception with the required materiality of the plastic space " . Confronts the impoverishment of the form and values ​​of things in contemporary society with the hypothesis of a poetic alternative. It is these three-dimensional works that prepare the dematerialization concretized in its "projected shadows. " The concept of shadow will become central in practically all of its later production: " shaded or projected shadows, theaters of shadows, shadows embroidered on fleeting sheets, there were several ways and records that the artist helped to relate this immaterial perception with the required materiality of the plastic space " . Confronts the impoverishment of the form and values ​​of things in contemporary society with the hypothesis of a poetic alternative. It is these three-dimensional works that prepare the dematerialization concretized in its "projected shadows. " The concept of shadow will become central in practically all of its later production: " shaded or projected shadows, theaters of shadows, shadows embroidered on fleeting sheets, there were several ways and records that the artist helped to relate this immaterial perception with the required materiality of the plastic space " .
盧爾德·卡斯特羅（豐沙爾，9 1930年12月的 - ）是一名葡萄牙的藝術家。參加美術在里斯本，那會不會在1956年的“驅逐”，最後一門課程的高級學校“對不遵守學術寶典，佔主導地位的教育體系在那個時候。”
她單獨展出，第一次在1955年，在的Clube Funchalense，豐沙爾，還參與了在里斯本集體的一些展覽。